Yet Another Decent Interval

So tomorrow morning I’m off to SXSW again. Last year I said I’d be reporting from the scene, but got so weirded out by culture shock that I never got around to it, so this time I’m not making any promises. I’ll probably be uploading some food reports to Dishola, and I’ll undoubtedly expand on them here, especially if I find some great new places, but usually the nights of music leave me so exhausted and depressed with the sheer volume of mediocre stuff that I lack any enthusiasm for writing about it afterwards. Or that’s what happened last year.

Actually, one of the more interesting SXSW-related activities is happening before the event, in the form of a blog discussing the impact of technology on the record biz. Even if you don’t follow some of the more intricate details, you’ll be able to pick up on how dire things are even for those heroic little guys who’re supposed to be profiting from the dinosaurs’ malaise. And this year I’m actually on a panel, or, rather, I’m conducting one of the live interviews with an old hero of mine, Joe Boyd, who’s probably produced at least one of your all-time favorite records, even if you haven’t heard it yet.

I’ll also be headed off to Marin County (got a super-cheap ticket) to pay my respects to the about-to-vanish Village Music, but unless I win the lottery in Texas offering my respects is about all I’m going to be able to do. But I’ll be seeing some folks from the Well, as well as some old friends from when I lived there. Then it’ll be back to Texas for a couple of days, and back here at the end of March.

And a couple of days after that, you just know I’ll be pissed off at Berlin again.

CAN YOU DIG DAT HOLE?

Back in the 80s I used to read Gerard Cosloy’s CONFLICT magazine so intently that his bands, the ones I’d never even heard, often became my bands, and since he incessantly and most often deservingly hyped up the ones he dug, I knew their ins & outs pretty well. One I always wanted to hear was DIG DAT HOLE. They were often described in Conflict’s pages as being a wild-ass BIRTHDAY PARTY-inspired antecedent, very much in the same school as some other great bands of the day like the Laughing Hyenas and Pussy Galore. They actually imploded even before they got a 45 out the door, and all that ever existed from them was a single cassette tape (pictured here) and an aborted LP, neither of which I’ve heard in their entirety. The story I got from the interweb says that 2 of the guys moved to NYC and quickly started COP SHOOT COP. They were interesting for about ten minutes in 1990, weren’t they?

So here it is in 2007 and I’ve procured a solitary song of theirs from the cassette and aborted LP called “A Similar End”, and – whoa. Absolutely fucking scorch. This has aged like a bottle of fine barleywine, and blows away a fair majority of the musical landscape between 1987 and 2007, wouldn’t you say? Wow.

Download DIG DAT HOLE – “A Similar End” (from tape and aborted LP)

THE WHITEFRONTS – “6 BUSES”

Hey, I know this isn’t a pic of the band or their album – I can’t find THE WHITEFRONTS’ 1985 album “Roast Belief” in my cluttered garage (actually I’m too lazy to look), so you just get a pic of this lovely honking bird instead of a scan of the record. It’s also rare enough that there’s virtually nothing about it online. Who were the WHITEFRONTS? Well, when I started college at UC-Santa Barbara in 1985, they were sorta my hipster cousin & his pals’ favorite local band down there. I never got to see them; I think they graduated or got kicked out or something around ’86 and moved to San Francisco, where they gigged around for a bit and then called it a day a couple of years later. My cousin used to play me some great “cassette tapes” of their stuff, which ranged from Velvet Underground-inspired freakouts (like the track I’m posting here, the fantastic “6 Buses” from the “Roast Belief” album) to Hawaiian slide guitar weirdness to hippie bongo workouts to Meat Puppets-style fake hardcore punk. And lots of genres and styles in between. When you hear this track, perhaps you’ll wish to start the Whitefronts revival with me?

Download THE WHITEFRONTS – “6 Buses”

Do I still love the music?

Oh, I do. The daily repetition of these songs threatens my quality of life.

The Hidden Hand – “Purple Neon Dreamâ€Â

Alabama Thunderpussy – “Void of Harmonyâ€Â (note: Due to the awful name and horror regarding anything billed as “Southern Metalâ€Â, I’ve never heard this band. The easy access promo cardboard sleeve and a long drive worked to introduce this catchy blaster. True to the cover art, it sounds a little like Molly Hatchet, but nothing like Bolt Thrower.)

Primal Scream – “Higher Than The Sunâ€Â

Dead C. – “Worldâ€Â

Ponys – “Small Talkâ€Â and “1209 Seminaryâ€Â

Amerie – “1 Thingâ€Â

Metallica – “Motorbreathâ€Â

Wedding Present – “Suckâ€Â

Ween – various numbers from The Pod

Gene Clark – “Because of Youâ€Â

Witchery – “Disturbing The Beastâ€Â

Rein Sanction – “Creelâ€Â

Jackson C. Frank – “My Name Is Carnivalâ€Â

Can – “Fall of Another Yearâ€Â

Salem 66 – “Postcardâ€Â

Bongwater – “The Drumâ€Â

LCD Soundsystem – “Someone Greatâ€Â

Norman Greenbaum – “Alice Bodineâ€Â

Manfred Mann’s Earth Band – “For Youâ€Â

Terry Reid – “Superlung My Supergirlâ€Â

More History Gone


There it goes: another piece of Berlin history is biting the dust.

That’s right, folks: by the time I get back from the States, the Tränenpalast will be no more. Apparently Deutsche Bahn has decided that this memory of the old East-West border has to be demolished immediately, the easier to excise the memory of what the building used to be.

I know for a lot of people, the Tränenpalast was a curiously-named entertainment venue, one which, if the experience my friend Gary Lucas had when he was booked there a few years ago is anything to go by, was horribly managed. In fact, practically from the day it opened in that incarnation, I heard sordid tales about the management, and the new managers didn’t seem to be any better than the first ones.

My first time there, though, wasn’t exactly for entertainment. The building’s name, “Palace of Tears,” came from its use as the processing terminal for Western visitors leaving East Berlin on their way back home. In retrospect, this seems like an odd name: Friedrichstr. station was an international checkpoint (the other being Checkpoint Charlie, further down Friedrichstr.), not a German-German one (which were scattered all over town), so the story that it saw the tearful separation of families who had come over to visit doesn’t hold water unless these families were from countries besides Germany.

When I made my first visit to East Berlin, it was in the company of a guy who apparently had raised some red flags at Checkpoint Charlie, and had suffered a cavity search on his last time over. He decided it might be easier to try Friedrichstr., and indeed it was, so my first view of East Berlin was the Admiralspalast theater. We quickly headed on to the Pergamon Museum, Alexanderplatz, and Frankfurter Allee, where we marvelled at the grandiose Russian-style apartment buildings.

But our ultimate destination was Prenzlauer Berg, where we met up with a guy named Norman. Norman was part of a group of vegetarians who met occasionally in East Berlin with some folks from the West, including some British and American soldiers, who were also vegetarians, for big dinners. Apparently (by which I mean maybe, see below), the day before, Norman had seen one of these guys on the street and waved to him. The morning of the day we met him, he’d been awoken by the Stasi secret police and interrogated for six hours. By the time we met up with him, Norman was a wreck.

Our solution to this was to get him as drunk as possible. This was also the solution to another problem: the 25 Marks one had to exchange one-for-one at the border. Eastmarks were worth nothing, and there was nothing much you could buy with them, but you weren’t allowed to take any back with you, either. To burn them up, we bought Norman dinner and found a bar where we drank ourselves silly. Finally, it was almost midnight, the time by which we had to be out of East Berlin, and we were just about out of money. We slipped Norman our spare change, and headed to the checkpoint in the building which is now called the Tränenpalast. Norman was still traumatized by his treatment at the hands of the Stasi, and was begging us to find him a black Jewish woman to marry. “That way, if the state tries to keep us apart, I can charge them with racism and anti-Semitism!” We tried to explain that black Jews of any gender were thin on the ground, let alone ones who might be inclined to marry him, but he told us we were lying, covering up for our unwillingness to help him.

On the one hand, Norman was being ludicrous, but on the other, I never forgot this rather intimate view into life in East Berlin. The guy I went over with later published a rather icky book called Once Upon a Time in the East, detailing the wacky fun he and his friends had had travelling in the East Bloc before the Wall came down, eating bad — but cheap! — vegetarian food in places like Romania and Czechoslovakia and generally behaving like the boorish British tourists they were. Norman’s story was in there, too, along with an interesting postscript. When the border to Hungary opened up, Norman was one of the first to leave East Berlin, and travelled the long way around, through Czechoslovakia, Austria, West Germany, and then back to West Berlin, a trip of hundreds of miles to achieve a journey from Prenzlauer Berg to Schöneberg. But once he was there, he began acting very strangely, and there are some among that circle who think, today, that Norman was a Stasi agent keeping track of them, and that it’s not impossible that the whole interrogation story he told us that day had been made up.

I have no idea, but I do think of Norman, who was last heard of living with his mother back in Prenzlauer Berg, when I walk past the Tränenpalast.

Or, as with so many other things here, maybe I should put that in the past tense. Once again, an uncomfortable souvenir of Berlin’s past is extirpated. In two years, no doubt, there’ll be a little pocket park there (to compensate for the one on the other side of the station, on which rose yet another untenanted office building), or maybe a Tränenpalast Museum sponsored by Deutsche Bahn, where the story the exhibits tell might not jibe exactly with the memories a bunch of aging people seem to have of the reality. The Palast der Republik is pretty much down by now, the Tränenpalast is going down…What’s next?

On Sunday, one of the tabloids had a headline screaming that Deutsche Post is going to tear down the Fernsehturm. It’ll take a little more than the Berliner Kurier to convince me of this, but after what I’ve seen here, I’m not ruling it out, either.

TIME FOR A MOVIE ROUND-UP

I just don’t have time to put any real thought into writing about “cultural” stuff these days. The no-look-hand-pass mp3 blog thing is incredibly easy – post the song, write some inane text and boom, there you go. Yet here’s an attempt to provide a bit of a peek into some films I watched over the past month. Perhaps there are some titles that you recognize. Perhaps, like me, there are some that you will enjoy. Please allow me to continue:

DESPERATE MAN BLUES – I was so excited to find a DVD documentary about legendary record collector Joe Bussard that I bought this thing without knowing a thing about it, & after watching it I’m glad I had the gumption to do so. The DVD’s actually two docs in one – one made by an Australian crew a few years ago about Joe & his foibles, and another similar one made by heroic archivists Dust-to-Digital just last year. If you have a place in your heart for the thrill that comes from rescuing some incredible pre-WWII musical artifact from oblivian (which Bussard has built an entire life on) or from hearing it, then this snapshot of a true American giant is for you. A-

THE DEPARTED – Watched this the night before it took the Oscar for best picture so I could say I’d seen at least a couple of the films that were up for the award…..like just about everyone, I dug it. For a 2 and 1/2-hour movie, it moved quickly & played like a great thriller, and I thought the concept of setting up the two different “rats” in the Boston police force and playing them against each other was pretty clever. Even Leonardo DiCaprio was great. Good one, Martin. I’m not sure that guy’s even made a movie I can remember since “GoodFellas”, and the only thing I remember about that one was the whole funny-like-a-clown bit….. B.

PAN’S LABYRINTH – Believe the hype – very enjoyable, fantastic dazzler about a young girl who escapes her mother’s shacking up with a sadastic fascist military commander during the encroaching Spanish civil war by inventing an alternate-but-parallel below-ground reality, full of spooks both comforting and terrifying. Much more violent and creepy than I’d anticipated, which was all well & good. Very well done, just don’t take yer little ones. B+.

DEATH OF A CYCLIST – I ventured to a historic San Francisco theater to watch the revival of this 1955 Spanish film directed by Juan Antonio Bardem, about an adulteress and her lover who mow down a cyclist on a back road, and then spend the rest of the movie writhing with guilt. I was a little taken aback by the horrifyingly moralistic way the film wraps up, and the syrupy strings & weeping melodies that came up during every dramatic moment made me feel like the film was more 1945 than it was 1965, if you know what I mean. I guess I was a little disappointed, but that Lucia Bose was quite a dish. C.

THIS IS NOT A PHOTOGRAPH – THE MISSION OF BURMA STORY – For Burma fans only, is what I’m recommending. A documentary on how the band made their way back to live & recorded action a few years ago, very well done & with some outstanding archival footage as well, but maybe lacking any sort of broader theme beyond “Mission of Burma are back and isn’t that great?”. B-.
TALLADEGA NIGHTS – Absolute garbage, full of clunking jokes and bizarre non-sequiters that go nowhere. Only thing I laughed at were “Ricky Bobby’s” redneck kids, but this one was snapped off about two-thirds of the way in. Excruciating. D-.

Here we are.

Dice: Undisputed…the first reality show that I will watch from start to finish. The White Rapper Show looked good on paper, right up my alley (cat), but interest sank. MC Serch was an insufferable moron (1), Prince Paul (2) was confusing and boring as a co-host, and the truly bizarre rappers were clipped early on. Also promising was Shooting Sizemore, yet clarification is needed as to why. I do not advocate or enjoy this style of reality show. The suffocating negativity peddled by addict/derelict/downfall reality series is uncalled for (in my life, at least), but I enjoy Tom Sizemore as a character actor, and his particular spiral appeared (in the previews) to reach insane depths (like homelessness). So, to approach personal hypocrisy, I just wanted to see how things would turn out. Otherwise, as a half-observed rule, exploitation of demolished lives is something that I find unsavory. Regardless, I’ve yet to see an episode.

Dice was never a drug addict. This was a career ruined by various forms of stupidity (3), lack of diversity and progress, the PC movement, and a bulldozing cruelty on the part of the entertainment business. Because of these things, hopefully, the Dice: Undisputed formula is different. I don’t pretend to know how rigged/scripted these shows are. Naturally, we start off with a broken man. Rather, the career is broken. Home life is comfortable, suburban, and primarily friendly. There’s a focus on how much he loves his kids. None of this should come as shocking if you’ve ever watched a reality TV show. Be it fake or genuine, the show has heart. The parade of disappointments, the Ford Taurus rental, the unfashionable dining choices, and especially his dad’s support….I am, so far, hooked like an idiot.

1. And deeply unlikeable as a host.

2. The purpose being what? That 7/8 of his audience is white anyway?

3. In my previous post re: this subject, a Bill Hicks reference was made. Let me clarify. Hicks’ material was, at the time, unquestionably cerebral compared to Dice Clay’s rube-ish, dumbshit posturing. Hicks’ material is also sorely overrated, and has aged like Candlebox. His post-mortem glorification is vexing…I just so very rarely find his bits laugh-out-loud funny. You may not like where Dice Clay took things, but that place, in a pure sense, was previously unconquered. Writer Mark Prindle has a better grasp of what makes the Dice Clay career fascinating/entertaining. Read that.